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Vivienne Villaescusa
Dance 460
Professor Caroline Prohosky
12 December 2013
Revealing the Genius of Vaslav Nijinsky
Vaslav Nijinskya name immortalized since the past two centuries as the greatest male
dancer of his time and one who changed the worlds perspective of men ballet dancers in his, and
the following, eras. Described with words such as genius, Nijinsky was undeniably
remarkable. Though many critics have sung his praises, what was it that made Nijinskys
dancing so brilliantly unforgettable? To compare, there are not many who have received praise to
the extent he has. Though part of his success may be credited to good fortune, it appears that the
combination of nearly un-humanly perfect technique, natural ability, impeccable acting and
being graced with good genetics, and family ties, and the brevity of his career, which all led to
the legend of Nijinsky.
In some sense, Nijinsky was simply lucky. If there was a lottery for individuals to draw a
time period to be born in, Vaslav won the jackpot. The ballet world in which Nijinsky entered, as
a boy, was one where women were idolized in their dancing. Men, however, were not so
prestigiously recognized and often overlooked. Coming into this setting, Nijinsky was at the
right place at the right time. Male dancers had long ago conceded first place to the ballerinas
(Krasovskaya 20). Though this may make it sound as if Nijinsky was to arrive on scene at one of
the worst times possible, the setup of societys view made Nijinsky seem like a contrasting
concept and a breath of fresh air that caught the audiences attention. This set up would lead to a
change in perspective of male dancers when Nijinskys stardom began to bloom.

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As mentioned previously, danseurs were often seen as the accompaniment of ballerinas to
make the females shine. However, Nijinsky disturbed tradition: he demonstrated that the
male dancer could compete with the female and could even eclipse it (Krasovskaya 35). His
impact with history is well summed up in a quote from the book Nijinsky: God of the Dance,
saying, [Vaslav Nijinsky] is still one of the best known names in a field of art which before
him was, in the West, dominated almost entirely by women (Parker 1). In an era of dazzling
ballerina princesses, Nijinsky proved himself a king. He would not simply stand on the sidelines;
he would shine on his own.
Nijinsky was skilled in the technical mastery of ballet. In regards to leaps, pirouettes and
entrechats, there were no other dancers that compared (Art of Nijinsky 16). However, let us
uncover the core of what many consider technique. Within ballet, and arguably any dance
genre, balance is an important factor within dance. In fact, it is even said that balance is the
crux of technique, and this was a crux Vaslav appears to have mastered (Magriel 18).
Continuing, to read passages of Nijinsky dancing one is very easily able to picture the
brilliant dance in motion. When he moves he does not blur the center of weight in his body; one
feels it as clearly as if he were standing at rest, one can follow its course clearly as it floats about
the stage through the dance (Magriel 18). Nijinskys technique, within dancing, amazed
audiences from a range of backgrounds. After a particularly difficult leap or toss of the legs or
arms, it is a marvel to observe how, without an instants pause to regain his poise, he
rhythmically glides into the succeeding gesture (Magriel 7). Though his technique appeared
natural, as if little effort was taken to accomplish the feats that he performed, it is keenly stated
that, a more intimate observer must realize that behind this the effect produced depends on his

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supreme command of his muscles (Magriel 7). Nijinskys technique was precise and he worked
hard at school to develop that talent.
Though some may say that talent is something one must work towards, and is not born
with, Nijinsky contradicted that philosophy as a dancing prodigy. Even as a child, Vaslav
showed skill at a young age (Art of Nijinsky 9). He was admitted, at an earlier age than is usual,
to advanced ballet classes (Parker 30). Beyond technique, Nijinsky was referred to as a natural
genius ( Art of Nijinsky 16). It appears, from many sources, that Nijinsky had a quality about
him that others can only label as magical or unique. Though no one seems to say where this
magic comes from, or to pinpoint exactly what this magic is, perhaps it the inability to trace this
quality that make Vaslav an enigma, and therefore admired. The book, Art of Nijinsky
descriptively writes, But about Nijinskys dancing there is something altogether uniquean
exotic quality which cannot be measured or referred to any standard of purely technical
excellence (Whitworth 24-25). Blending in his natural ability with this magical quality,
Krasovskava states, Nijinsky [had] a magical, natural aptitude for dance (Krasovskaya 9).
Can this mystical quality Nijinsky possessed be repeated? It is a hard question to answer,
but to replicate this magic seems, in some sense, unachievable, since no one seems to know what
this magic exactly is or where it comes from. However, it is evident that this gift which Vaslav
Nijinsky had contributed greatly to his success.
Along with the fortunate timing of his career and a born natural ability, Vasalv had an
incredible gift for acting. It was said of him, The audience does not see him as a professional
dancer, or as a professional charmer. He disappears completely and instead there is an imaginary
being in his place (Magriel 20). Nijinsky was evidently able to take on a role so convincingly

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that it seemed to be his true identity. Having a variety of unique roles in his dancing career, it
was cleverly written that, Nijinskys art is as many-sided as a circle, in regard to acting, and
that he made every role appear as if it was his favorite (Whitworth 22).
While an outsider may not realize the great importance for a dancer to be not only
technical but emotionally persuasive through their actions, acting is a skill often overlooked by
dancers. Skimming through the variety of lists of roles taken on by Nijinsky, and thumbing
through photos from the book Nijinsky by Paul Magriel, it seems quite remarkable the versatility
that Vaslav possessed.
Persisting, if anyone can describe themselves as a born a dancer, Vaslav can lay claim
to that title. Nijinsky came from a family of dancers with his mother, Elanora, and father,
Thomas Nijinsky, whom both were dancers (Parker 19). On and the evening of his birth, his
mother was performing an hour before his delivery (Nijinsky 21).
Nijinksys name is often associated with is legendary leaps (Parker 1). And it is
possible that this legendary trait was likely inherited from his father, who is pictured as, an
excellent acrobat, [who] had a superb ballon (Nijinsky 19). Perhaps this characteristic is due to
the similarities in body shapes of the two men. It was said of Vaslav Nijinsky that his physical
frame included, "muscular development of hip and thigh [though, giving] the impression of
being very slight in build. His body is slim as a boys. His arms are delicate. His wrists and
ankles almost dainty (Whitworth 25-26). It has been suggested by Romola, Nijinskys wife, that
Vaslav inherited quite a lot of dancing traits from his father. Thomas Nijinsky is described as a
perfect classical dancer, a master technician, and, according to Vaslav, surpass[ing] him even in
technique parts (Nijinsky 19).

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Perhaps the most compelling of reasons for Nijinsky being called genius is the
contradiction of his insanity. Vaslavs dancing career was a relatively short one and his decline
came about gradually (Krasovskaya 333). Around 1917 he began having a fear of
persecution in everything he did, and would occasionally become despondent
(Krasovskaya 333). Towards the climax of his disease, in which Nijinsky was only 30 years old
and no longer able to perform, the attraction toward insanity was more powerful than his love
of people or love of art. And, as he prepared himself for his last performance, Nijinsky ceased to
resist (Krasovskaya 340; 343).
It seems that Nijinsky and his wife led a quiet life once his disease, now thought to be
schizophrenia, set in. During these courses of events, his insanity was kept largely a secret from
the public. With his death, all traces of this bleak part of his life seemed to disappear and only
the good memories left. It was only later, with his death that Vaslav would become
immortalized. After Nijinskys second, physical, death, his fame as a dancer returned. His
legendary leap immediately became the subject of memoirs. The poets of Romanticism had
dreamed of such a flight (Krasovskaya 352). It seems evident that part of the reasoning for
Nijinskys esteemed life was due to the short career of Nijinsky. Like a shooting star flashing
through the sky, Nijinskys career was greatly appreciated during that swift, brilliant phase, and
once he had burned out at his fullest, only pleasant memories were left, as the scene again turned
dark.
As I have attempted to uncover the genius that composed Vaslav Nijinsky, it seems
evident that it was more than one element that created this legendary performer. To find a dancer
to equal his talent would be a difficult, perhaps impossible one. Nijinsky was truly a collection of

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well-fitting puzzle pieces, with the saying, the whole is greater than the sum of the parts being
an accurate description. His inherited physical build and body structure allowed him an
advantage unable to be duplicated by others, his gift for embodying characters made him
believable and able to connect with his audience, and his natural ability seems an indescribable
gift not easily replicated. Furthermore, his technical skill level seems unable to be surpassed and
the timing of his career perfection. It is aptly stated that, Nijinskys achievements become all
the more remarkable when one remembers that he is working with an imperfect physical
medium ( Magriel 7) Within Nijinskys genius, he was also human To admire Nijinsky is not
to admire one element of his life, or one skill, but the combination of what he was. His features
seem to melt together in an imprint of his legend not soon to be erased. Vaslav Nijinsky was
mortally immortal, Vaslav Nijinsky was genius, Vaslav Nijinsky will not soon be forgotten.

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Work-Cited:
Krasovskaya, Vera. Nijinsky. 10. New York: Schirmer Books, 1974. Print.
Magriel, Paul. Nijinsky. London: Adam and Charles Black, 1946. Print.
Nijinsky, Romola. Nijinsky. New York: The Universal Library, 1934. Print.
Parker, Derek. Nijinsky: God of the Dance. 2. Frome and London: Butler & Tanner Ltd, 1988.
Print.
Whitworth, Geoffrey. The Art of Nijinsky. London: Ballantvne, Hanson & Co., 1913. Print.